According to Verwoert this method is comparable to the working method of a scratch orchestra, where the musicians support one another with their attention and attentiveness. Through reacting to the sound and noise the others make, looking at the potential of allowing a social logic and structure.
This performative working method dismisses the authoritarian logic of an imposed order. Joost in Breda and Den Bosch and ArtEZ university of the arts in Arnhem, will build kitchen-sculptures and investigate them through painting. I also see the kitchen as an archive, and a place of sensory work.
Joost in Den Bosch. Becoming Red 2, 3 and 4 are the first manifestations of the long-term collaborative exhibition project Becoming Red, initiated by Winke Noppen and Anna Scholiers. Becoming Red is based on an interactive script. Palm trees waving elegantly, a flock of jellies drifting in the sea, cocktail polluted by sand, becoming redredred. This body is awaiting a certain interpretation.
Being like this, immobility could soon turn into anaesthesia. Sun and sea claim the beach. Shallow breathing, the body remains coy. The selected artists and musicians touch, in their own artistic practice, upon specific aspects that come forth in the script. In dialogue, the artists produce a commissioned work that refers to, deviates from or emphasizes the various elements of the script of Becoming Red. Each work entails a potential direction for the exhibition series and emanates future expressions of the script. Similar to the progressive discoloration of the body on the beach, Becoming Red thus changes over time.
On May 16th, Becoming Red presents the script altered by the contributions of the invited artists and musicians. The following characters and elements of this new script are presented in an open set: the Narrator, the Dog Without a Tail and the Picnic Set. The public is invited to witness all the performative manifestations on the set, which are marked by continuity, repetition or singularity. Additionally, Ilse Raps , a Belgian photographer and videographer, explores the conventions of this set and documents the relation between public, performers and set. The complete revisioned script of Becoming Red 1, 2, 3, 4 is presented in the following video:.
Currently lives and works in Brussels. This in between status mirrors the importance of the process closely linked with time and justifies the use of a 0.
Throughout a constant tension between appearance and disappearance, between real and fantasy, between the figurative and the abstract, Sandra Plantiveau work reveals bits of places. She makes them her own before including them in her work, as in between a line and a curve. Her sculptures are made of cardboard, aluminum foil and iron wire.
During a residencyperiod of one month, Esther will make new works that will be shown in the exhibition at Greylight Projects Brussels. The group-exhibition Possest s bring together a variety of artists sharing a sensibility for the cinematic language. Proceeding from sole observations to carefully staged situations, their works offer multiple visual experiences, which each in its own particular manner, expresses a singular relationship to time and its durations.
These devices are at the same time means of production, co-authors and food for thoughts. By putting forward use and gestures, she focuses the attention on human presence within a production system dominated by technology. Using software or machines in an opposite way or diverting a program purpose can be assimilated to an act of resistance, a way to create a space for free thoughts in a defined system.
She bypasses a program in order to show the structure behind the system. She wants to point out the awareness of an action, the will of people using a system and finally a sort of self-realization in a professional activity. Her most recent works have to be considered in relation to a larger scale system: the human society. In confrontation with the current European industry status and the omnipresence of new technologies and devices, she shows a critical sight on technology use and work practices. The work of Bonno van Doorn revolves around the paradox of the intentionally meaningless.
His world resists any kind of efficiency or logical sense that surrounds us in our daily lives. In a world that is overloaded with meaning, metaphors and symbols we are constantly interpreting and communicating, trying to fix identification and meaning. Nevertheless we still seem to misunderstand each other all the time. The work of Bonno van Doorn suggests the possibility of a space in between where things are floating free, always just escaping our compulsive way to control the objective world surrounding us.
Most objects and constructions have a very specific and concrete form suggesting a certain function or meaning, but they cease to acquire a proper identity and remain abstract. Things are simultaneously specific and abstract, familiar and strange. Everything is a fragment, provisional, pointing elsewhere. Walking around this environment one encounters the constant surprise of a failed recognition. Trash City is a fiction. Its starting point is a wander in the growth of signs and esthetics feelings in our urban spaces. In between destruction and reconstruction the works are made in-situ and the exhibition space become itself the characters and the stage.
Trash City is a fragmentary cinematographic object in which scattered elements compose a story expending in the space. Massimiliano Baldassarri is an italian-swiss artist, curator and musician. His work mix several interest and crosses the borders between painting, sculpting, drawing and performance. His proposition always take in consideration the exhibition context and its architecture. Brussels based sound artist Yann Leguay seeks to fold reality in on itself using basic means in the form of objects and videos or during installations and performances he presented in numerous places and festivals in Europe and further.
His flagrant disregard for the accepted norms of audio behavior appropriates industrial machinery , data storage devices or historical medias, to interfere our relation with materiality, sound and listening. His Phonotopy label proposes a conceptual approach to recording media and he also curates the DRIFT series on the Artkillart label which overlays several grooves onto a single record, causing randomised playback. Beyond The Dutch Mountain Video Festival is te zien vanaf 8 februari tijdens het DMFF tot en met 23 februari tijdens de openingstijden van het theater.
Thomas Bernardet is a french visual artist curently living and working in Brussels. During this one-evening presentation in Greylight Projects Brussels, Thomas Bernardet will show three films focusing on the idea of shooting, documenting and recording live-artworks of other artists. Trois Quarts Temps, An attempt at describing a site-specific project.
Video, color, sound, , 60 mn. A video document on a piece by choreographer Laurent Pichaud. It attempts to document this work and its relationship to the places where it is performed, through three recordings made in three different gyms. Documentation en cours. A video document on a piece by choreographers Emmanuelle Huynh and Christian Rizzo. Emmanuelle discusses the working relationship between M. Cunningham and J. Cage and her own practice. Looks like High School Drama, Video, color, sound, , 13 mn. The action on stage is over stage, the sounds we hear are from the after-show party given in the lobby.
Her recent projects, which have included site-specific sound and performance pieces intended for single viewers, displace basic filmic elements to explore devices such as the gaze, empathy, and their manipulation. Last few weeks she was working in the guest studio of Greylight Projects Brussels. The body has a direct relationship to water. Today we live in a society with a big focus on health. Mineral water is a fashionable product referring to a healthy life. In the town of the gallery mineral water is pumped out from the earth from a m. I create a situation of inconvenience, by flooding the floor of the gallery, about 10 cm high.
A quiet stretched out moment in a range of occurrences. The water is a danger for the building and gets soaked into the walls. Installation: Flooded gallery with 10 cm high water, 6 x 12 m, Material: Soap with esoteric oil. In his work these pictures are abstracted and can lead to three-dimensional objects, graphic works, paintings and drawings. At Greylight Projects Torsten Uerlings assimilates an installation out of his a body of works which creates a different viewpoint for the spectator. Over the past 3 years, Rechute has been organizing many gigs in various places in the city of Brussels.
Mixing experimental rock, electronic music, noise, field recording, drone, folk, free improvisation, Rechute is a joyful attempt to sound as sharp as eclectic. Greylight Projects is proud to present the first Rechute Festival which will take place during two evenings in the basement. During this residency period she did research for a new performance.
Bakker will give an insight in this process. Starting from appropriated materials and their temporary context, Sammy Ben Yakoub creates new conditions, shifts and disrupts the initial material to transform the image into an act. The exhibition includes video works, audio works and works on paper and will take place at Greylight Projects Brussels from the 5th till the 29th of September Een duivenmelker wacht in Het Volkshuis op de terugkeer van zijn lievelingsduif.
Zo zijn op 24 augustus vanaf U bent hierbij van harte welkom. Afscheid van een heel leven dat is geweest en over dat laatste stukje leven dat nog moet komen. In een museale, kleine setting zullen oud-bewoners de voorbijganger op een magisch-realistische wijze deelgenoot laten maken van verleden en toekomst. You can find us in the basement. Reality Tracks, a project in three parts, invites various artists to work on new projects in the projectspace in Hoensbroek.
Whereby the direct environment is a leading reference. How will the urbanistic area and the cultural vacuum of Hoensbroek influence the works of these artists? Each part will be concluded with a presentation and artist talk whereby the results will be shown to the public. At Greylight Projects he will work on a new set with his analog synthesizers, and sound installation.
His practice is mixing several medium as video, photography, sound. This statement place the human mind and the sensible in the center on his preoccupation and let him work around three main point : perception, imagination and knowledge. His scenografic installations often find themselves stuck between the theatricality of Opera decors and the playfulness of artists the likes of the late Jason Rhoades.
Joris constructs, quite literally, objects from wood, polyethylene and paint and injects them with drama by using coloured lighting and theatrical settings. The results are empty sceneries, in which the spectators become characters. During the period of residence at Greylight Projects Joris Perdieus will work on the production of a new installation that will afterwards be on show in the Brussels based B-gallery. Under his solo moniker Carrageenan, he released two albums and performed in France, Belgium, Germany and China.
His posture is characterized by concentration and commitment in order to control the medium and to disregard it at the same time. He considers himself as a researcher working within a self imposed framework. Art for the people of Hoensbroek with out them knowing it. The project of Suus Touw wil consist of hand made posters of strokes of black ink on white sheets of paper. Each poster wil be an exact copy of the original image. These posters wil be spread in the town of Hoensbroek, by doing so the image wil subconsciously nestlle in the minds of the inhabitants.
Heerlen was one of the first cities to use surveillance cameras in public space on a large scale. The images of these security cameras have been used by Wouter Huis for the Modus Operandi project. The result are shown on seventeen billboards scattered throughout the city. Het is een mix van geluidskunst-performance en ritueel concert, dat uitmondt in een natuurkundig experiment, namelijk; het in trilling brengen van de ruimte, door de resonantie-frequentie van die ruimte te treffen.
Daarvoor gebruikt Khe Siang zijn stem, primitieve geluidsobjecten, live-electronica en een computer. Treft Khe Siang de juiste lage toon, dan zal de ruimte die resonantie-frequentie versterken en hevig gaan meetrillen. Resultaat is een zeer luide, lage toon, die niet alleen gehoord, maar vooral gevoeld zal worden. Voor een synesthetische ervaring, wordt de performer en de ruimte met donkerrode- en donkerblauwe theaterbelichting belicht lage tonen worden geassocieerd met de kleuren donkerrood en donkerblauw.
De belichting wordt aangepast aan de gespeelde tonen. Doel is om de relatie tussen geluid en de ruimte, bewust waar te nemen en te ervaren. Greylight Projects bevindt zich op circa meter van de voormalige steenkolenmijn de Emma. Op 28 oktober werd de imposante schachttoren van Emma, met een hoogte van 63 meter, gesloopt. Door een technische fout werden bij het opblazen van de schacht, grote betonnen brokstukken meer dan meter in de omgeving weggeslingerd.
Luttikhedde nam de explosie als aanleiding voor haar werkperiode in Greylight Projects. Tijdens de opening zal Mike Kramer zijn compositie Mijn Gehoor d in een aangepaste versie live vertolken. Mike Kramer is naast geluids kunstenaar ook werkzaam als artistiek leider bij stichting h ear wat zich bezigt met het presenteren van klankkunst en experimentele muziek, zowel zelfstandig als ook in dialoog met andere kunstdisciplines.
Aan de hand van archiefmateriaal is in oktober door Jeroen Offerman en Laurent Malherbe met veel artistieke vrijheid de badkamer uit de film Psycho na gebouwd. Na de presentatie diende de sculptuur als podium voor het onderzoek. De vermoorde Marion Crane, in de oorspronkelijke Hitchcock film gespeeld door Janet Leigh, werd in de eerste versie vertolkt door Anouk Bax. The focus is on the meeting between audience, art and artists from around the world as much as the exhibition itself. In de maanden november, december en januari zal Greylight Projects een collectie video werken van verschillende kunstenaars tonen.
De collectie zal gedurende deze periode worden aangevuld met nieuwe werken. In the months November, December and January, Greylight Projects is showing a collection of video works by various artists. Presentation of new work made during a workperiod at Greylight Projects and a limited publication. De Morgen, 30 julli , blz For two weeks Jan and Michiel will use the space of Greylight Projects as a studio.
The starting point of this collaboration will be the shop windows on the street side. In addition to this collaboration, Jan wants to work in a studio situation on a series of sculptures for in and around the space of Greylight Projects. Walter van Broekhuizen uses different materials to make his installations and these materials traverse multiple disciplines: sculpture, performance, photography, drawing. How different there is a common focus within his work; the research that focuses on the perception of space, the mental and physical experience of space.
This can also be considered as an abstract concept. The notion that larger systems, mathematical, physical, metaphysical, spiritual or political, make our world understandable. The physical space in which the body moves, the image it occupies as well as the new reality that it creates. Swat is an exhibition on the theme of flies, a metaphor for annoying thoughts and feelings that wander through your mind and can not be caught or crushed with a flyswatter. Nora Adwan and Ina Smits are trying to catch these flies in drawings and video images.
Swat opens with a performance in which will be demonstrated how such emotions can be eliminated in order to get these pesky flies out of our heads. Nora Adwan and Ina Smits worked together on a residence in Poland which resulted in a collaborative idea for a theme of a new show. They decided to produce a series of new works about flies. The idea surfaced as the hundreds of really irritating flies there, torturing them everyday, became an illustration for our situation.
By having the time in the 2 months of working there they also suddenly had a lot of room in our minds to be bugged by old feelings, memories and unwelcome thoughts and reflections. By not being able to swat the bugging thoughts because there is no opening in the head to track them down and kill them, the flies became the metaphor for the bugging thoughts. Although the ones outside of the mind are traceable and removable, they try to, like any human being, hope that the unwanted bugging thoughts are a one day fly or at least a seasonal pest. An performance will be done at the opening, in between the works.
The performance will be combined with a video installation and a series of drawings and inventions how to catch them, trap them and eliminate them. Nora Adwan studied sculpture in London at Kingston University and is now working mostly with video installation, theatre and film.
She currently lives and works in Berlin. Normally she produces work through a series of stages. The work is always moving and transforming. Her ideas and artworks should be subject to change and should be able to shift. Recently she begun combining physical objects with projections. Ina Smits studied fine-arts in Kampen. Her work mainly exists out of performances and installations. Inspired by her possessions, most of which she picks up at flea markets, she gives them have a whole new self created history.
By placing these new memories into site specific installations, they start leading a whole new life by getting a purpose they never had before. Combining the objects with materials such at wood and fabrics, a whole new world is created. Les Alices is a theatrical proposal questioning the boundaries between the world and its perception. We start from a simple position, a lounge, two people living through small daily events. Tea, chess, mirror, clothing… Apparently, nothing happens, or nothing more than a mechanical set of daily rituals. From this frozen frame the scene slips subtly into the interiority of the characters, into their own perceptions.
The boundaries between reality and fantasy fade away. Then occurs a confusion between these two poles, between action and thought to no longer distinguish one from the other. To show a recognizable world while we subtly shake the rules. Changing the relationship of things among themselves to bring out the unusual and disrupt our relationship to reality. Our research emphasizes a theater of images. Through the interaction between actor, video and sound we want to give you to feel rather than to tell you a story.
The creation process of this piece can be compared to the establishment of a puzzle. Gathered around common questions, each of us brings his own propositions in the form of texts, images, acting situations and scenics proposals. From this step follows an exploration of these materials. We focus on an instinctive approach of the creation process. Even if our startings points are theoreticals, our research is located on stage more than on table. Experimenting on the screen surface projections on objects for example , recording video and sound direct from the stage to replay it live with delay, loops, pre-recorded sounds and images..
The common denominator in the project and also leitmotiv by Grijslicht is what we call the mental architecture. We think of the relationship of viewer, work of art object , space context and time. Grayscale has invited a number of artists to join this project for a while. This presentation is achieved through mutual selection. This means that the artists select from each other existing work and let this lead to a coherent presentation. This will prove to be going. Pretonic interior vowels other than the most open a disappeared, and the post-tonic interior vowels also were gcnera!! For both the [w] and the o, the tongue rises toward the back of the mouth the difference is one of degree; for both there is a rounding of the lips the difference again being one of degree.
For [ ], the sides of the mouth are pulled slightly back, but not for the e; for jj], there is only a very narrow medio-palatal passage, with even a very slight degree cf friction, for it is a very close sound; for e, the passage, considerably more open, is post-palatal or at the junction of the hard and the soft palates.
With reference to this passage Grandgent says:4 "Ve now learn that the damned, while aware of the past and indistinctly cognizant of the future, have no knowledge of present events on earth. Just how much time the 'present' embraces we are not told. This idea, which seems to be original with our poet, opens the way to an intensely pathetic situation in this canto; and throughout the Inferno it provides opportunity for varied narrative, the things of being told by Dante to the shades, while later events are prophesied by them to him.
Animae justorum sciunt omnia quae tue aguntur; quae autem in poenis sunt, nesciunt nisi quae eis angeli vel sancti referunt. Quae vero in inferno sunt, non plus norunt qui hic agatur, quam vivi sciunt quid ibi geratur". The quotation just given shows that the idea that the damned have no knowledge of present events on earth was known long before the time of Dante. It will be observed also that both Honorius and Farinata state that these spirits are unaware of present conditions unless someone brings the news to them.
With reference to the answer that Farinata8 makes to Dante, William Warren Vernon says:9 "It is generally considered to imply that the first words of it Noi veggiam apply to all the lost spirits in Hell, but several passages may be noted that seem inconsistent with this view. Nicholas III has no knowledge of the present.
Compare Commet Francesco Buti! John S. She knows that Gianciotto Malatesta is still alive:. Gianciotto died in 13 Farinata's statement that the lost spirits are ignorant of the present evidently refers only to those included in Dis, the lower Inferno, where sins of malice and bestiality are punished, and does not apply in the case of the incontinent.
The reason for this distinction is doubtless contained in the following statement:. Critics have protested against the graduai and inevitable obscuration of the 17th-century original, and among these upholders of fact against fiction, M. Most of the efforts to supplant the Cyrano myth by documentary evidence are admirable in their emphasis on truth, but they are signally lacking in any appreciation of folklore tendencies. The real Cyrano would have been dead to fame had not tradition allowed its rich stores to accumulate around his person. Rostand, Paris, t, p.
Within the realm of Cyrano legend, which has thus attaincd a superior vitality over life, 1 propose to study the accretions by which that worthy's nose has grown to the proportions and the celebrity conferred on' it by Edmond Rostand. From the earliest times, a large nose has commanded respect, while a small nose has aroused distrust. By Hebrew! The mediaeval interest in physiognomy developed a fairly consistent system of nose-interpretation, which had its roots in Greek and Roman theory.
The science may be illustrated by the following passages:. Richtrd Foerster, Ups! Robert Steele, E. Steek, E. Henricus KornnHttn fl. Thus, by a rather natural association, backed by scientific reasoning, a large nose was considered the property of great, intelligent, and aggressive men. It will be remembered in this connection that "the Shandy family ranked very high in King Harry the Eighth's time" because of its "long and jolly noses" and that Tristram's father "did not conceive how the greatest family in England could stand it out against an uninterrupted succession of six or seven short noses.
Among these personages may also be enshrined Giovanfrancesco Leoni, for whose princely nose Annibale Caro obtained an historic "Guarda-Naso. It is not a far cry from the mock heroic to the burlesque or the satirical; and it is in the latter vein that Erasmus makes Pamphagus' nose the butt of ridicule in his dialogue, "De Captandis Sacerdotiis. Through concentrating on utility, Erasmus has overlooked the more colorful and convivial aspect of the nose.
Cyrano's self-raillery in Rostand's play I, iv , and "Notes on the Nose," Chambers's Edimburgh Journal, New Series, I, , "Castor's nose was said to be in itself all the useful instruments of life a spade, a trumpet, an anchor, a pot-hook, etc. Although Rostand's Cyrano likewise flaunts a highly tinted nose, its rubies are not the mark of intemperance, for the French dramatist follows Henri Lebret in portraying an abstemious hero.
Cyrano belligerently addresses the bore, "Malsaine Vous semble sa couleur? The foregoing rapid sketch of analytical, mock heroic, burlesque, and humorous literary treatments of the nose must serve as an indication of the many lights in which that feature was viewed before the 17th century and also, as we shall discover later, in Cyrano's own day. I shall now turn ta such statements in the works of Cyrano and his biographers as have made possible the concentration of nose lore about his person.
If one studies the engravings of Cyrano in the collection of the National Library at Parisl2 with a realistic, rather than a romantic, eye, one will be forced to admit that the nose is ample, perhaps, even compendious, — but it is not immense or monstrous. Jacob, Paris, , pp. Jacob, Cyrano de p. Histoire Comique des portraits Empires de la Lune et du Soleil, ed.
Jacob, Paris, , p. It may be remarked in passing that a man who played second in duels might well be assumed to have done so in love. Cyrano boast in the play-. Jacob [Paul Lacroix]. A inuch truer note is probably struck in letter four: "Ne. Jacob, II, Jacob, 11, Jacob, Histoire Comique, pp.
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Ixxv-lxxx Fournier dates the action before 16f4, in which year lackeys were forbidden to carry. Quel diable de nez! In the literary controversies which occupied many 17th-century authors, the fiery Cyrano being no exception, there were two general modes of attack, criticism of an opponent's works and satire on his person, habits, or actions. The "Combat" belongs to the latter class of literary warfare and, therefore, need not be considered biographical, as some critics have done.
The sagas of Cyrano de Bergerac and Roquelaure have much more in common than the request to move aside a large nose which obstructs the view. Gaston-Jean-Baptiste, marquis, then duc, de Roquelaure, born in , just two years before Cyrano, took up the profession of arms early in life and gained a reputation for valor. Even more distinguished for wit, the duke was soon glorified by popular imagination into a very god Momus of practical jokes, raillery, and amatory adventure. I6S3; and Antoine-Gaston-Je. Barbier, J.
On leaming that he has aided Candal against his own interests, Roquelaure confuses the tongue-tied lover as to the hour of the assignation and takes his place, not fearing that in the dark "elle me rira au nez comme tant d'autres" I, vii. Even the germ of the contrast between spiritual beauty and fleshly ugliness may be found in Roq1lelaure, though Rostand had given expression to the antithesis in his early poem, "Le Divan":.
Haraszti, Edmond Rostand, Paris,! M, note 1. Gautier's grotesque finds an echo in Rostand's play, where the changes rung on Cyrano's nose are infinitely more varied than those of any former biographer or legend-builder. To Ragueneau is given the first description of the protagonist's most striking feature:. The probable falseness of a large or misshapen nose was once the subject of jest. Noses demolished by disease, bullet, or duelling sword were replaced by artificial make-shifts or by the transfer of flesh made possible by rhinoplasty or plastic surgery.
Diego, as we learn from the tale of Slawkenbergius in Tristram Shandy, unfortunately carried about "a ponderous mass of heterogeneous matter congested and conglomerated to the nose," which was more than once suspected of being "a false nose" "a nose of parchment.
When Cyrano allows his own fertile imagination to run riot on his nose, he compares it to a trunk, an owl's beak, a rock, a peak, a cape, a peninsula, a scissor-sheath, an ink-pot, a bird perch, a chimney afire, a, hat-hook, a Red Sea, a perfumery sign, a conch, a monument, a gable, a giant turnip, a dwarf pumpkin I, iv. Jean Auvray's nose utility list strikingly resembles Rostand's in general, though not sharing with it any specific comparisons.
Cyrano's nose questions, "Est-il mol et ballant, monsieur, comme une trompe? Ou crochu comme un bec de hibou? Que dis-je, c'est un cap? Malgaigne, Paris, , n, 60 5, col. Cyrano refers to his nose as illustrating a phrase, avoir pignon sur rue, 'to have a house of one's own', the word pignon meaning 'gable': "Respectueux: 'Souffrez, monsieur, qu'on vous salue,. The comparison may have been suggested by d'Ouville's story of a largenosed officer commissioned to see that shop fronts which bulged out into the street should be torn down.
The wrecker, however, was held up to ridicule bv a clever merchant. Rostand was well acquainted with the literary period in which the work appeared; it was also brought out in the Collection Gay by P. The Cadets of Carbon de Castel-Jaloux warn Christian de Neuvillette not to insult Cyrano nasally, for he once killed twq men who merely snuflled. Sortez tous! The originality of this scene is in no way lessened by the fact that it has a chance parallel in W. Martin's Our Noses London, , pp. A snub-nosed student breaks in continually with puns and wise remarks, causing the professor to grow progressively more and more irate.
A good Nose must belong — to its owner. The lecturer, overturning the table and breaking the water-bottle in his anger, orders the impertinent student to follow his snub out of the classroom. With the possible exception of Auvray and d'Ouville, none of the authors from whom 1 have drawn illustrations of particular scenes in "Cyrano de Bergerac" has had any influence on Rostand.
A study of nose-literature as a whole demonstrates clearly enough the dramatist's indebtedness for plot materials, but it also shows that in the actual phrasing of nose-conceits Rostand borrowed few expressions or comparisons from his predecessors. Displaying in his own life the traits of character associated in popular physiognomy with large-nosed men fieriness, satire, aggressiveness, leadership, he became the focal point for traditional noselore and, by borrowing wisely from the saga of his contemporary, the duc de Roquelaure, took his place in the vivid scenes of "Cyrano de Bergerac" as one of the great heroes of romance.
Dreyer, Tycho Brahe, Edinburgh, , pp. Randle Colgrave, London, , s. Car il raconte toujours ce qu'il a connu le mieux,—la vie de son village et de ses humbles habitants. Il vit avec et pour ses souvenirs. Loin de moi de vouloir le contredire. On en trouve dans tous ses livres. Quelle interminable procession! Marie et Jacques Clarambaux sont les enfants d'une bonne famille d'ouvriers de Bois-de-Namur. Les gens qui vinrent la voir le lendemain, chuchotaient en se penchant sur le lit: 'Qu'elle est belle: on dirait qu'elle dort.
Puis nous avons la rapide idylle de leurs amours. Jean dit:. Et pour le reste, ces deux enfants ne savaient pas. Serait-il vrai que les malheurs se suivent? Rien encore. Elle court, clip! Monque est un des saints du livre. De Boeck, Nalonsart qui cultive son jardin, tout en se faisant la providence du village. Ensuite c'est un conducteur de bac qui depuis quarante ans charriait les gens sur la fleuve. Voici un mendiant, vagabond incorrigible, qui n'avait, pour se consoler et pour gagner sa vie, qu'un vieux violon. Taupin's account is hardly more than a note, though he evidently considers Stevens to be at the height of his powers.
Any subsequent writing may add to his output, but it will probably not indicate a change in his personality. Thus, it seems worth while to extend and complete the study which M. Taupin bas already suggested. Stevens is ranked by discerning contemporary critics among the two or three best poets which the 's produced. Gorham Munson in a superficial essay2 classifies him as a "dandy.
Blackmur makes a confused attempt to appreciate his verbal technique. They both share the same problems and both choose somewhat the same method of facing them: that is to say, the philosophical and spiritual dilemmas of which the French symbolists were conscious in the 80's passed over into American literature in the second decade of the present century along with certain elements of technique employed in French writing.
Thus, Stevens had the advantage of his predecessor's virtuosity. Many of these, no doubt, can be accounted for by race and period. The veils of traditional idealism had been torn away, the temporary afEtatus of Romanticism had subsided; and the creative artist was left with nothing but his aesthetic sensibilities in which to clothe himself. And with this knowledge had come a sharpened perception of reality, the ugly as well as the beautiful, to some natures a realization of the loathsomeness of physical existence as intense as.
So it is not surprising that the earlier Laforgue is a small boy whimpering for his mother, alternating between attempts to "dissolve" himself in the comforting arms of Woman:.
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But Laforgue grew older and found, as every one finds, that some defense is necessary against the external world, be it ever so loathsome. He cultivated his vocabulary, the use of col1oquialisms, and the invention of a diverting kind of fantasy. But during his short Ufe he did not succeed in completely objectifying himself. The tricks and the trapeze performance are sometimes a little too aggressively clever; and one finds him sticking out his tongue with tears in his eyes.
His love poems record a continuai melancholy, because the shimmer of the dream cannot be preserved, and because Woman is a repetition of the same disappointment:. In short, Laforgue's "chrome orphanism" lasted throughout his short life. Stevens develops qualities found in Laforgue. One can grant this New Englander of Pennsylvania Dutch parentage more stolidity, more toughness of mind than the delicate Frenchman. He, too, faced with the death of the Puritan tradition, comes to a meaningless world. He is obliged to reorganize a flood of raw impressions. But if he went through an early phase of Romantic disillusionment, he bas left na record of it.
There was the tradition of Baudelaire in French letters to warrant one's giving expression to the horrors of existence, but Anglo-Saxons, through pride or mental reserve, do not unburden themselves in the same way. At any rate, Stevens' early poems are as chiselled and objective -as his later ones. Even so, this attitude, which was also shared by Schopenhauer Love as a trap for reproducing the species , while it might seem to the philosopher Von Hartman to put love on a practical and praiseworthy basis, could not fail to inspire a really poetic nature with bitterness and nostalgia for a more idealistic approach based on a lost religious synthesis.
There is a close connection between itt-digested Darwinism and cosmic pessimism in literature at the end of the 19th century. American" to seem "hard-boiled" and content with facts. Stevens takes over the ironic, technically brilliant, method from the beginning. Instead of lunar fantasy though Stevens has fantasy , imagism with its emphasis on direct observation leads him to cultivate a descriptive eye. Moreover, there is in him a philosophic evolution, exemplified in the long poem, The Comedian as the Letter C, which is typically New England and foreign to Laforgue.
The poem narrates the awakening of a New Englander with "an eye of land, of simple salad beds" to the gorgeous natural richness of the sea and the tropics, which is also symbolic of the spirit suddenly bereft of tradition, face to face with the rawness of sensation. And like the Utopians and Transcendentalists of the last century, Crispin, overwhelmed and delighted with a new world, wishes to found a colony where:.
Thus Stevens' discovery of a new world, naked and luxurious, came as Pantheism and delight in nature, a frequent Germanie reaction, but far less normal for a French poet. Laforgue could never:. For a time an imagist could and did. The difference between Laforgue and Stevens now becomes clear: faced with sensation without traditional idealism Laforgue does not turn to the active or the social or the practical; he sees only metaphysical horror and nothing solid on which to fix his emotions.
Stevens is far more of a realist, ready to abandon old thoughts and social forms, to build a new society out of the newly discovered world, apparently feeling that the spiritual side of life will automatically come out right. Eventually he finds himself in the same dilemmas as before. It is true that after some activity and "fuss" the American arrives at the same position as the Frenchman, but he is so much more a man of earth that he is less disturbed, he sits down before the fire, with a slightly wry smile, to polish his memories.
Laforgue would have thrown the peaches and plums away pettishly, crying that if he could not have his dreams he did not want to play. Yet, oddly enough, this spiritual dissimilarity notwithstanding, both came to cultivate analogous artistic poses. Here it is possible to point out definite influences of Laforgue on Stevens. The former is fond of talking about his "lunar pierrots," little, decorative, allegorical figures like the following:.
Laforgue is remarkable for the handling of certain technical terms: "Oui, c'est l'automne incantatoire et permanent. Here these terms lend a feeling of strangeness, that bizarre fantasy in which Laforgue was an ancestor of the surrealists. Stevens, too, employs technical terms, not for the sake of fantasy, but for a harsh ironic effect:. Again, Laforgue will employ foreign words, conventionally unpoetic words and grotesque juxtapositions for the sake of humorous irony, every one carefully chosen for musical qualities:.
And finally an example of words used purely for the sake of the associations which their sound produces and the musical effect of repetition stemming from Poe forms one more link between the two poets:. It is hard to say which is the finer virtuoso. Laforgue repeats himself more and is softer. Each poem by Stevens is an individual case of perfection, though once in a while an understatement does not quite come off and a ime falls flat. The oldest Spanish poet whom we know by name, Gonzalo de Berceo, ?
They follow written sources generally, but cast out bombast, leaven the heaviness, and add to dry facts a play of fancy, humor, and poetic thought of their own. There is a wide range of subject and treatment: lively battle-scenes, a sombre forecast of the Last Judgment, ecstatic mysticism, sensitive response to external nature. Though not a great poet, Berceo, more than any other, fixed the forms of Castilian verse. What she bas here done makes a book of pages that exhausts the subject of symbolism in Berceo's Sacrificia, and adds a chapter on sources and one on Berceo, the man and poet, besides a bibliography of over entries.
Clearly a thorough piece of work. Berceo, says our author, when looked at from the standpoint of his themes, all of them religious, or his sources, ail of them Latin, or looked at from the standpoint of his metrical system, the cuaderna via, might be thought of as belonging among the learned poets. But looked at from the standpoint' of his spirit, Berceo is a juglar, a popular story-teller. His verses were meant to be read or recited before groups of people.
This is the way he wished to be viewed and repeatedly insisted on being viewed. Benito de San Pedro rated him among the Autores. Very interesting and instructive is Sister Teresa's chapter on symbolism as a means of expression. Historically it goes back much farther than she, for her purposes, traces it. Greek philosophers, led by Philo, sought to harmonize the sacred books of the Hebrews with their own teaching. At this point Christianity intervened, claiming to be above ail schools and philosophies, and declaring that aU the mystery religions, some of which bore striking resemblance to Christianity, were but shadows cast before.
Thus, Berceo, and before him St. Paul, analyzes the ceremonial law of the Jews. And ail through the long period of barbarian invasion, when science had fled to the monasteries, symbolic interpretation held on; and when learning revived under Charlemagne, symbolism colored every phase of thought and endeavor. His poem is a part of that vast literature centering around the Redemption. The Mass is the meeting-place of man's quest of God and God's quest of man. Thus, Berceo's poem is in the very middle of the stream of Christian thought and feeling.
Berceo's distinction lies not in exegesis, but in being the first to transmit to any modern tongue the traditional interpretation. Berceo made them accessible to the people. They were, moreover, in prose, and Berceo made them not only accessible but attractive. They were, finally, not only in Latin prose but dull prose; Berceo infuses his heartiness and adds color and sentiment. He does more; he makes a real contribution to literature and to language.
Our author is not concerned with this side of Berceo, yet in closing her study she refers to "two literary qualities which may be called Bercean since they characterize in a special manner. Translated into English verse by Elisha Kent Kane. One thousand copies privately printed for the translator by William Edwin Rudge, New York, , pp. Berceo died at about the time Juan Ruiz was born. Berceo was one of several notable 13th-century Spanish poets; Ruiz was almost alone in the 14th century.
Probably on this account he has been excessively praised. It is absurd to call El Libra de Buen Amor "the most powerfui book ever written in the Spanish language" as the eminent critic, Cejador y Frauca, has called it I quote the words from Prof. It is not, as some other critic says, a lone tower in the desert of the 14th century. A better judgment is that of Romera-Navarro: "la obra capital del siglo xiv. To those who would know more about Juan Ruiz, his times ?
Puyol reviews the state of Castillan letters, the personality and culture of Ruiz, and his first writings. This first part may be read alone. Puyol's study is much more than it daims to be. Though published 28 years ago, 1 mention it here, because the first part, at least, should be of interest to those who read Prof.
Kane's translation. Amatory adventures, moral digressions, picaresque apologues, hymns to the Virgin, satire and burlesque, make up the singular mixture of mysticism and hedonism which, with the Archpriest's gift of narration and portraiture, would be remarkable in any age and amounts to genius in his own. Kane's translation is a close and sympathetic rendering.
Of the bookmaking it is enough to say that it has been done by Rudge. Of Prof. Kane one may add that his Gongorism and the Golden Age: a Study of Exuberance and Unrestraint in the Arts Chapel HUl, is written with the same gusto and liveliness, "in order to secure, without the scandai of popularizing, at least a wider audience than the professionally erudite.
Julio Puyol, La CoM! Merely to read Sr. These were among the treasures purchased by. These miracle plays have been discussed many times, but Miss Penn's study is the first to make a systematic investigation of their stage-settings and of the technical problems which their staging must have presented. The basis of her study was a doctoral dissertation prepared at the University of Wisconsin under the direction of Prof. Hugh A. Smith; and it reflects credit upon both the author and the nature of her graduate study. Miss Penn's analyses of the staging, the devices and the graduai progress in dramatic technique, are clear and well presented, aided by a group of diagrams which supplement the text.
As we should expect, there are no startling conclusions, but the work will be found very useful by any student of medieval drama. Miss Penn demonstrates quite conclusively that these miracles performed ? Also difficult for me is the argument offered by Miss Penn and by many of her predecessors that only one, or possibly two, of these dramas was presented each year, and that they, therefore, extended over a 40 year period.
How do we know that two or three of them were not played in succession, on the same feast day? Audiences at that time liked to be entertained longer than they do now! In the discussion of stage-devices Miss Penn hints several times that no modesty deterred the actors from stripping to the skin when the action so required. So much has been written on the history of the drama that no two individuals can possibly agree in their bibliography, unless they are, both, ail inclusive. It is true, however, that some of the authorities which Miss Penn lists offer very little for her subject matter.
They might have been omitted from the bibliography, and others added. An old reference which is still useful is Francis H. Paris, Champion, , despite the difference in date which, in this case, was as great as years. Miss Penn did not use the edition of G. Miss Penn lists the first edition only of Creizenach in her bibliography there is a third There is something very odd connected with the date of this volume.
The copy which 1 have at hand has no date; and yet the Library of Congress card gives without enclosing brackets! A modern reproduction was made in I do not mean to suggest that additional bibliography would have altered the value of the main argument in Miss Penn's work. She bas presented her material in a graphie and convenient form; and her book should be a standard reference for those interested in this particular problem.
Dupire sur Jean Molinet. Guy, dans. Il s'agissait de savoir ce que Lemaire avait connu de. Dans l'Introduction, M. Faut-il comprendre de Bavay ou de Belgique? Puis M. L'Introduction se termine par une trentaine de pages dans lesquelles M. Dans le premier chapitre de son livre, M.
Mais, comme M. Attirons l'attention, en particulier, sur Robert Gaguin, un contemporain de Lemaire, et l'auteur du De Origine et gestis Francorum compendium. Il faudrait indiquer aussi comment M. Celui-ci, en effet, semble avoir consulte le ms. Mlle Gh. Mais je veux terminer ce compte rendu, quoique le livre de M. Non seulement M. Il faudrait parler aussi des pages que M. On voit que le livre de M. Gerig, collected and arranged by Norman L. Forter, Bucharest, State Printing Office, , pp. Professor Nicolae Iorga offers his lectures delivered on the occasion of his visit to the United States, early in , and "by combining," as he states in his foreword, "one or more lectures into one chapter and by elaborating many points which could not then be developed" he found it possible "to gather sufficient material for a very slim volume.
Professor Iorga, of course, is anxious to tell more of his own land and people. Serbia was a subject country under Turkish domination, Bulgaria did not exist; the Greeks were long tutored by the Moldavians and Wallachians, who paid for and controlled their religious organizations, in the holy places, from Thessaly and Mount Athos to Jerusalem and kept up, for the benefit of Greek scholars and pupils, schools which had been built for the sons of the native nobles in Jassy and Bucharest; who printed, in their capitals and convents, books which were distributed as a work of charity to ail the Christians of the East: Greeks, Slavs, Caucasians, Arabs and Syrians.
The natural majesty of the Eastern Empire shed its glow upon the Courts on the lower Danube. And to-day, too, when any influence has to penetrate to those countries, it must necessarily begin by making its way to Bucharest, the centre of ail Rumanian life and activity, the true intellectual capital of South-Eastern Europe. There are numerous other items we would have liked to quote, but for the limited scope of these notes. Professor John L. Sixteen reproductions of paintings signed by T. Romanati illustrate it. Professor AI. In connection with this instance, the Bulletin publishes a paper by E.
As for Petrovici, this sound has the following acoustic characters: "1 Il donne bien l'impression d'un i. Aussi ne forme-t-il pas syllabe.
"louis c. k"
Other contributions we find in this issue are: "Der dynamische Wortakzent der ungarischen Lehnworter im p. Graur and J. Byck close this second substantiel volume of the Bulletin. His was a very human Christ, indeed,—a Christ in flesh and blood in whom was embodied the epitome of man's goodness. Now, as the cry for the familiar is strong in man's make-up, Papini's Christ, rendered in human formula, in universal translation, was, perforce, to reach varied and distant peoples. And, if Papini succeeded in delineating a universal Christ, no less achievement did the controversial biography attain for its author: it created a universal Papini.
This arch-enemy's return to the fold, be it recalled, gave rise to one of the bitterest of recent polemics.
Street photography from atget to cartier bresson (photography art ebook) by Kelvin Morales - Issuu
Papini's adversaries have damned his soul for his espousal of Catholicism. Now, this accusation, were it substantiated with tangible proof, would carry damaging, if not sacrilegious, evidence against Papini. In absence of this proof, however, the accusation can only be something akin to calumny, either motivated by envy of Papini's rise in the world of letters, or else begotten by the frothy hatred of anti-religionists and anti-Catholics.
To this sect of religion-haters Papini, the apostate, would be more welcome than Papini, the apologist. Enough has been said in this regard. Moreover, Papini needs no defender; he is past-master at hurling savage invectives. Neither is there intent here to offer a conclusion to this time-worn controversy.
Places and chemistry: Strasbourg—a chemical crucible seen through historical personalities
Alarms and Discursions English by Chesterton, G. Gilbert Keith Alas! English by Ogilvie, J. English by Alden, John B. Occasional Papers No. Indian Tales and Legends, Vol. Aliens or Americans? English by Grose, Howard B. Also a Practical Hand-Book on the Ferret. Why the Cat. English by Gash, Thomas C.
Miscellaneous Writings of C. Mackintosh, vol. Vierzehntes Heft German by Sachs, E. II, No. Augustine J. Mimms English by Knight, David C. Their Habits, Customs, Manners, and Religions. Their Plants, Beasts, Birds, and Serpents. Hewson Lindsley The American Agriculturist. The American Agriculturist. The American Apiculturist. The American Bee Journal, Vol. VI, No.
April 6, English by Newman, Thomas G. David W. Second Series English by Smith, J. XI, No. The American Journal of Photography, Vol. Mann English by Schmucker, S.
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